Hindi
PVR to invest Rs 660 mn in digital conversion of screens
MUMBAI: PVR Cinemas is investing Rs 660 million to convert its screens to digital and has partnered with Scrabble Entertainment for this.
While 89 screens have already been converted, the balance 73 screens will be converted within the next fortnight with an initial investment of Rs 210 million. Going forward with their expansion plans, all the future PVR properties will be 2K DCI Compliant.
“The size of the entire partnership for digital conversion until December 2012 would be approximately Rs 660 million,” the company said.
Scrabble Entertainment Ltd. (SEL) has partnered with PVR Cinemas to convert all its screens to digital platform.
With the partnership in place, PVR Cinemas will have all its existing screens equipped with 2K Digital Systems. It will thereby be the first cinema exhibition circuit to achieve this feat in India.
Said Scrabble Entertainment Ltd. CEO Ranjit Thakur, “It is extremely encouraging to see the entire footprint of a leading theatre chain go digital. Being one of the biggest & best theater chains in India, this partnership is a major step for India going completely digital by 2014. It is great to partner with PVR Cinemas as both of us strive at giving our patrons the best movie-viewing experience.”
PVR Cinemas Group President and CEO Pramod Arora elaborated, “The value, flexibility and quality that 2K digital provides is far beyond the differential cost difference when compared to any other digital platform in the country. The stellar image on screen substantially improves the overall viewing experience of the consumer. At PVR we have taken a conscious decision to always go with the best available technology from time to time.”
UFO Moviez, India’s biggest digital cinema player, holds 52 per cent stake in Scrabble Entertainment. Scrabble’s ability to fund this deal is primarily due to this partnership with UFO.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
